The Thổ Hà Village Festival came into being in 1685 but later endured a long period of suspension. It was revived in 1992, taking place yearly from the 20th to 22nd of the first lunar month. The four hamlets in the village take turn to play main role in the ritual procession throughout the village, which is located on a tip of land surrounded by Cầu River, bordering Bắc Ninh and Bắc Giang provinces. The festival is organized in commemoration of Mr. Đào Trí Tiến, the village’s patriarch of pottery making. The procession starts from 10:00am, beginning from Hamlet 1 and ending at noon at the Communal House. The procession is formed by many delegations dressed ornate costumes, resembling mythical and symbolic figures such as Tam Đa (three abudances) and Tiên Đồng – Ngọc Nữ fairies, or performing troupes such sên tiền dancers, Flag Master, Sword Master, Gong Master, so on. Although distance for the procession is quite short, it took two hours for the procession of the Saint’s palanquin to reach the communal house due to many activities taking place in the same narrow village road. The last ritual taking place at the communal in honoring the saint is the most solemn and sacred ceremony in the festival.

The Thổ Hà Village Festival came into being in 1685 but later endured a long period of suspension. It was revived in 1992, taking place yearly from the 20th to 22nd of the first lunar month. The four hamlets in the village take turn to play main role in the ritual procession throughout the village, which is located on a tip of land surrounded by Cầu River, bordering Bắc Ninh and Bắc Giang provinces. The festival is organized in commemoration of Mr. Đào Trí Tiến, the village’s patriarch of pottery making. The procession starts from 10:00am, beginning from Hamlet 1 and ending at noon at the Communal House. The procession is formed by many delegations dressed ornate costumes, resembling mythical and symbolic figures such as Tam Đa (three abudances) and Tiên Đồng – Ngọc Nữ fairies, or performing troupes such sên tiền dancers, Flag Master, Sword Master, Gong Master, so on. Although distance for the procession is quite short, it took two hours for the procession of the Saint’s palanquin to reach the communal house due to many activities taking place in the same narrow village road. The last ritual taking place at the communal in honoring the saint is the most solemn and sacred ceremony in the festival.

The Thổ Hà Village Festival came into being in 1685 but later endured a long period of suspension. It was revived in 1992, taking place yearly from the 20th to 22nd of the first lunar month. The four hamlets in the village take turn to play main role in the ritual procession throughout the village, which is located on a tip of land surrounded by Cầu River, bordering Bắc Ninh and Bắc Giang provinces. The festival is organized in commemoration of Mr. Đào Trí Tiến, the village’s patriarch of pottery making. The procession starts from 10:00am, beginning from Hamlet 1 and ending at noon at the Communal House. The procession is formed by many delegations dressed ornate costumes, resembling mythical and symbolic figures such as Tam Đa (three abudances) and Tiên Đồng – Ngọc Nữ fairies, or performing troupes such sên tiền dancers, Flag Master, Sword Master, Gong Master, so on. Although distance for the procession is quite short, it took two hours for the procession of the Saint’s palanquin to reach the communal house due to many activities taking place in the same narrow village road. The last ritual taking place at the communal in honoring the saint is the most solemn and sacred ceremony in the festival.

Bamboo grows in the wild in hilly region is used to make this oboe. The bamboo stick is needed to be dried first. And then, holes are perforated on it with the use of drill. It has to change the sizes of drills depending on the sizes of oboes. The oboes are in three different sizes- big, medium and small. Each of them has a total of four perforated holes. A thumb hole is perforated on the lower side with the distance of an inch from the first finger hole. The four finger holes must be made with same distance. Reed made of dried straw is inserted on one end of oboe and young female buffalo's horn is put on another end. The horn and oboe are decorated with manau traditional designs. The player must blow the reed made of straw to play this oboe by opening and closing the finger holes. Dumba is played in Manau festival, housewarming ceremony, honoring ceremony, Htaungkar Dance festival and funeral rite. There are designated melodies for different occasions.\n-2 feet 6 inches in length\n-2.5 inches in length if dried straw reed\n-1.5 inches in length of oboe\n-10 inches in length of buffalo horn\n-9 inches in circumference of horn

Mongolians celebrate the traditional Tsagaan Sar Festival as a passing of one year and a welcoming of a new one. This is the triple celebration for passing of the severe winter safe-and-sound, welcoming a new year, and a celebration of getting wiser. Before the end of the old year, Mongolians endeavor to repay debts and resolve disagreements so as to enter the forthcoming year without lingering resentment or misfortune. The tradition of Tsagaan Sar Festival comprises of complex proceedings as bituulekh (to celebrate the day before Tsagaan sar), preparing the banquet, dairy products and mutton for the feast, zolgokh (greet each other), honoring the elders and telling well-wishing, propitious words to each other. The celebration of Tsagaan Sar is a fifteen-day period of ‘whitening’, when family and kin gather in a respectful atmosphere to renew and solidify ties, particularly between young and old.

Folk singing of the Cao Lan people take many forms and covering a wide range of topics. Besides alternating singing between males and females as an outstanding characteristic of the element, Cao Lan people also sing about farming, honoring the land and agricultural deities, singing lullabies, playing riddles, so on. Through these traditional melodies, Cao Lan people express their sentiments to each to other, conveying contemplations, telling dreams and hopes, showing their love for nature and respect to the gods. Besides the traditional songs passed down for generations, Cao Lan people can improvise and compose new songs, reflecting their contemporary life. Cao Lan people learn how to sing their folk song with pride and naturally in everyday life. As a longstanding tradition of singing, the element has become a factor to contribute to community cohesion.

Folk singing of the Cao Lan people take many forms and covering a wide range of topics. Besides alternating singing between males and females as an outstanding characteristic of the element, Cao Lan people also sing about farming, honoring the land and agricultural deities, singing lullabies, playing riddles, so on. Through these traditional melodies, Cao Lan people express their sentiments to each to other, conveying contemplations, telling dreams and hopes, showing their love for nature and respect to the gods. Besides the traditional songs passed down for generations, Cao Lan people can improvise and compose new songs, reflecting their contemporary life. Cao Lan people learn how to sing their folk song with pride and naturally in everyday life. As a longstanding tradition of singing, the element has become a factor to contribute to community cohesion.

Folk singing of the Cao Lan people take many forms and covering a wide range of topics. Besides alternating singing between males and females as an outstanding characteristic of the element, Cao Lan people also sing about farming, honoring the land and agricultural deities, singing lullabies, playing riddles, so on. Through these traditional melodies, Cao Lan people express their sentiments to each to other, conveying contemplations, telling dreams and hopes, showing their love for nature and respect to the gods. Besides the traditional songs passed down for generations, Cao Lan people can improvise and compose new songs, reflecting their contemporary life. Cao Lan people learn how to sing their folk song with pride and naturally in everyday life. As a longstanding tradition of singing, the element has become a factor to contribute to community cohesion.